The Production Assistant's - Meetupfiles.meetup.com/235322/PA_Handbook.pdf · P.A. (Production Assistant), from my own experience as a P.A., an A.D. (Assistant Director), and a 2nd

The P.A. Handbook. ©1999-2000 Caleb John Clark<[email protected]> , <www.plocktau.com>

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TheProduction

Assistant'sPocket Handbook

By Caleb John Clark

Second Edition. First E-PublishingCopyright © 1992-2000

Cover art by Ocean Quigley

Read on screen, or

1. Print2. Fold in Half3. Put in Back Pocket4. Read on Set (but

only on breaks!)


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TABLE OF CONTENTSABOUT THE HANDBOOK................................ 3THE BASIC IDEA USING BIG VAGUEWORDS................................................................. 3THE BASIC IDEA IN FOUR WORDS(S.T.A.R.)............................................................. 4SET ETIQUETTE 101....................................... 5SET ETIQUETTE 102....................................... 5

Make sure you understand.................... 6Anticipate...................................................... 6Never spend your own money............. 6Save all receipts.......................................... 6Remember peoples’ names.................... 6Ask ................................................................... 7Respect............................................................ 7Don't get involved...................................... 7Never become complacent..................... 7Help those in need..................................... 7Know where the nearest hospital is... 8Carry phone numbers.............................. 8Check in often.............................................. 8

RADIO ETIQUETTE.......................................... 8When someone calls you by name:.... 9Responding to commands:...................... 9Radio Check:................................................1 0

LOCK DOWNS...................................................1 0RUNNING TALENT........................................1 1GRIPPING.........................................................1 2MISTAKES........................................................1 2DRIVING...........................................................1 3THE TELEPHONE............................................1 4"I UNDERSTAND" THE UNIVERSALRESPONSE.........................................................1 6GETTING A JOB ..............................................1 6

CREDITS........................................................1 8RECOMMENDATIONS...............................1 8RESUMES......................................................1 9VIBES.............................................................1 9

WHAT YOU'LL NEED ....................................2 0"OPTIONAL" THINGS ...............................2 1

TOOLS OF THE FUTURE ...............................2 2CONCLUSION...................................................2 4


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ABOUT THE HANDBOOK

Some of the advice you are about toread may sound a bit crazy, but keep in mindwhat is trying to be accomplished in theproduction process. Like a painting, a movieis a single piece of creative work, but while apainter holds his brush with one hand, adirector must sit back and paint his picturewith a hundred people holding his brush.Combine this with the strange bedfellows thatart and business make, and things are sure toget crazy.

This handbook is designed to act as asupplement to learning on the job, and to giveyou an edge in the world of production. Theincredibly complicated nature of the businesshas forced crews to develop specific, andsometimes unusual, ways of doing things. Atthe same time, this complexity has also madeit very hard for people to teach newcomerswhat these ways are. I have taken all that Ihave learned about what it takes to be a greatP.A. (Production Assistant), from my ownexperience as a P.A., an A.D. (AssistantDirector), and a 2nd unit director in featurefilms, and put it in this handbook. I have alsoincluded suggestions from my friends in thebusiness about what they think makes a greatP.A., the most important comments comingfrom Cheryl Pitkin, an 8 year veteran LineProducer in Hollywood. I consider Cheryl’sinput invaluable because part of her job is tohire and fire P.A.s.

THE BASIC IDEA USINGBIG VAGUE WORDS

P.A.s do everything nobody else wantsto do. It is an entry level job. Like all entrylevel jobs, the object is to work yourself out ofthis job by making yourself too valuable to be


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kept in the entry level position. Being a P.A. isalso a weird test with only one question; Areyou willing to become the best P.A. you can,even though you know that you don't want tobe a P.A.? The logic behind this is that thepeople above you have paid their dues andthey expect you to do the same. The otherside of the coin is that a good P.A. is veryvaluable because there is nobody else to dothe job. Therefore, take pride in all the littledemeaning tasks you will have to do. Take thejob seriously. You are an indispensable partof the production team (if you need to provethis to yourself just get all the P.A.s to hide outwhere you all can see the set. Then watch aseverybody panics as soon as they can't findany P.A.s), Be honored and happy to getcoffee, and remember who likes three sugars.If you are an exceptional P.A., you will getpromoted very quickly, and the coffee willcome to you.

THE BASIC IDEA INFOUR WORDS(S.T.A.R.)

SWIFT: Traversing space or performingmovements in a brief period of time. Actingwith readiness; Prompt. In other words,boogie. Run to your car. If someone asks for a3/8 inch bolt, say "No problem" and leave at abrisk gallop. Don't ask what it's for, or what itis, or where to get it. Just leave and find a Gripto help you.

TACTFUL: A quick or intuitiveappreciation of what is fit, proper, or right. Skillin avoiding what would offend or disturb.Considerate. Basically knowing when to keepyour mouth shut and smile, and when to add abit of valuable input. When to be where you'reneeded, and when to leave when you're inthe way.

AWARE: Conscious; cognizant. Alertand informed. Always pay close attention tohow you are affecting others. Read the call


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sheets so you know what is supposed to behappening. When things get crazy, take adeep breath and think clearly.

RESOURCEFUL: Capacity for findingor adapting. Skill or ingenuity in meeting anysituation. Versatile, and devious. Try to thinkof solutions to problems, even if they are notyours. Carry things people will need, likeaspirin. Get a Swiss Army knife.

This forms the acronym, S.T.A.R.

Fitting for the business. I know it's cheesy butit's easy to remember.

SET ETIQUETTE 101

NeverSit

Down

SET ETIQUETTE 102

If you're not immortal, and you have torest now and then, make sure to do it in aquiet out-of-the-way place that's within earshot, but not eye shot, of those who will callyou. Pick a time when you know that thechances of your being called are theslimmest, then check your radio if you haveone, and relax. They will call you within 98seconds; it never fails. So learn how to lookalert and really be relaxed.

Run if anybody is waiting foryou

It's fine to walk briskly if nobody iswaiting on you and you aren't supposed to bedoing anything else, and it's a nice sunny day,and you're relaxed, and the shoot is going assmooth as glass, and...


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Make sure you understandCommunication on the set is as crucial

as in a war. When people ask for somethingmake sure you understand or can find outexactly what it is they want. It must beunderstood by person X that it is understoodby person Y, so that both parties understandthat both parties understand. Understand?When someone asks for a small flying saucerwith one fake blue alien, repeat it to them, infull, every word. It sounds silly and it feels sillyto do it, but it works. A simple "OK" will onlyresult in an "OK? OK what?"

AnticipateAnticipate what people will need and

you can save yourself a lot of energy. It's thedifference between figuring out whatsomeone is sure to ask for and going to get itat your own pace, or suddenly being told torun and get it as soon as possible.

Never spend your own money.You should never have to spend your

own money for anything the productionneeds, even if the company says it will refundyou later. If you are asked to do this, say thatyou don't have any money on you. The onlyexception would be if you judge the situationto be an emergency and you trust that theproduction company will pay you back.

Save all receiptsSave receipts or anything remotely

connected to the production, such as gas andsupplies.

Remember peoples’ namesNot only the key to politics! It's the key

being a good PA. Remember names and usethem. When you meet someone repeat theirtheir name outloud back to them to thelp youremember and make sure you get it right.


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Carry a crew list or ask other people beforeyou call someone "dude" in a weak attempt tohide the fact that you have no idea what his orher name is. Write down the names of peopleyou might deal with again, so that when youcall or see them, you can use their names as ifyou remembered them. Production is aboutinteracting with people. Remembering nameslets people know that you respect them, andthat they were memorable.

AskAlways ask before touching someone

else's equipment.

RespectRespect other departments' contributions tothe production. There's nothing worse then apompous P.A. who thinks that because he isin the production department he is better thanother crew members.

Don't get involvedStay away from set soap operas,

politics, and gossip. These things aredangerous and can get you fired no matterhow good a worker you are. It's best to listento everything and tell nothing. Besides, ifpeople know you keep things to yourself, youwill get to hear all the juiciest secrets.

Never become complacentPeople will not usually tell you if you

are doing a mediocre job, They will just neverhire you again. This is why it’s a good idea toask your superiors if they are happy with yourwork and if there is anything that you can dobetter. Always try to do things better and fasterthan the last time. Try new ways to do yourjob, and learn about other peoples' jobs.

Help those in needNever stand around while somebody is

struggling to do something.


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Know where the nearest hospitali s

The Production Coordinator shouldknow this, but if you know it will save time ifsomeone gets hurt. In addition you shouldknow where the nearest grocery store,hardware store, gas station, and print shopsare located.

Carry phone numbersCarry all the names and phone

numbers of the cast and crew. When youleave the set make sure that you have somechange, and the production's calling cardnumber (if there is one).

Check in oftenWhen you are off the set on a run or out

of contact for any length of time, check inoften. When you are off the set on missions,calling every 30 minutes is a good rule ofthumb. When you are returning from a run it issometimes good to check in and see ifanything else is needed. This prevents theacute paranoia syndrome that sets in whenpeople can't find a P.A.

RADIO ETIQUETTE

You may be given a radio. After youhave learned to make machine gun andocean sounds with the static, you're going tohave to talk to people with it. The first andmost important thing to understand is thatradios are not like telephones. When you'retalking on the telephone you can hear bothpeople talk if they're talking at the same time.The radio, on the other hand, will block oneperson out if both people talk. This means thatsomeone could say "Rolling" and if you werecalling at the same time you would not hearhim/her and he/she might think that


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you/he/she had, which could get sticky, not tomention confusing to read.

Radios usually use rechargeablebatteries that clip onto the bottom of the radio.Make sure that you have a fresh battery or thatyou know where the extra batteries are.Batteries should be drained before they arecharged and they should be charged everynight.

If you are on the set with a radio, turnthe radio off when the camera is rolling. It isvery embarrassing to have your radio ruin ashot. However, make sure to turn it back onafter the shot is over, because it's just asembarrassing to have to say "Well, I guess Imust have been walking around with my radiooff." The difference in the way radios work iswhy you have to talk like a cross betweenRambo and a truck driver. Here are a few ofthe most common examples.

When someone calls you by name:

ASSISTANT DIRECTOR"Steve!"

STEVE"'Go', for Steve."

Always respond with "Go For_____". Ifyou say something like "Ya Here" you couldbe anybody with a radio.

Responding to commands:

PRODUCTION COORDINATOR"If you make it out of that town alive withour lunches, radio in about a quarter ofa mile out."

STEVE"Copy."

"Copy" is used to make sure peopleknow that you heard and understood them.Silence just makes everybody nervous.


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Radio Check:

STEVE"Steve here, I need a radio check."

DRIVER"Copy on that Steve."

The radio check can be helpful if, forexample, you were told to guard a generatorfrom the local wood nymphs. Now you'vebeen waiting for two or three days for a woodnymph to show up, during which time youhaven't heard anything on your radio.Wondering if everybody might have goneback to L.A. or maybe your radio's broken,you calmly ask for a radio check. It's muchmore dignified then saying, "Is anybody outthere?"

Radios usually have several channels.The A.D.s will determine which department ison which channel. For example: Productionstaff on Ch.1. Transportation on Ch.2. Youshould always be on the same channel as theProduction staff. Make sure that you switchback to your channel when you're donetalking to another department.

Each show will have some differentradio language, so you will have to adapt asyou go. But as long as you remember howradios work and the basics that I havementioned, you will never sound like an idiot.

LOCK DOWNS

Lock downs are a common P.A. job.Your mission will be to guard the perimeter ofthe set from interruptions that would ruin theshot. Usually you will be given a radio, somewater and 2 days' worth of food. You will thenbe sent to a position near a door or some kind


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of entrance to the set. Report back to your A.D.when you are in position. Wait for the cue"Rolling!" and yell it out loud and clear,making sure that anybody in your area canhear you. Now you are "Locked Down".

Once you're locked down and thecamera is rolling, use the hand signal forrolling to tell any approaching people to stopand be quiet. The signal is made by pointingyour index finger straight up and twirling it. Ifthat doesn't work, try jumping up and down(quietly) or pray really hard. The A.D. will yell"Cut!" when the take is over, and maybe"Going again real soon". Repeat what youhear loud and clear so people can get back towork until the next take.

When you are on location, things canget strained. You will be dealing with peoplewho, strangely enough, might not care ifyou're making a movie. They don'tunderstand the finger twirl, and they might notlike being told to be quiet. Be polite. Ask themif they wouldn't mind being quiet for a fewminutes; explain why. Getting into aconfrontation would defeat the purpose ofyour mission.

RUNNING TALENT

Running talent means shadowing castmembers and knowing where they are andwhat they are doing. The first step is to findthem and introduce yourself; tell them whoyou are and that they should find you if theyneed anything. I know this sounds likechaperoning, and in a sense it is. The actors'state of mind is very important to theproduction. They need to stay focused and bekept calm, and that means sending a neutralP.A. to relay information. When shadowingtalent or even dealing with them in any way, itis your responsibility to make sure that theyare content. If actors get pissed off they willwaste incredible amounts of time and money.If production people find out that a P.A. pissed


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the actor off, they will descend upon that P.A.with a wrath equal to the amount of hasslehe/she indirectly caused.

Fortunately, there is the 5thamendment of the P.A. constitution, otherwiseknown as the “don’t kill the messenger”amendment. Take the P.A. 5th wheneverthings get tense with an actor. It will put youand the actor on the same side, both beingenslaved by the evil unorganized productionpeople. Both in utter disbelief that they wantanother take, and all you’re doing is justfollowing orders.

GRIPPING

You might be asked to help the Gripsout. You will most likely pick up heavy stuff,haul it, and put it down. As soon as you startthese chores you are under the Grips' rule.Listen to them; do things exactly the way theytell you to. There are reasons you may notunderstand at first for the way things are done,so just do what they tell you and figure outwhy later. Use gloves if you have to wrapcable, but don't keep them! Gloves hangingoff your belt will make you a grip P.A. fasterthen a Producer can dial a phone.

MISTAKES

You will screw up. What's important ishow you handle yourself after it happens. Iwas up to my thighs in a river in Maine. Myproud mission was to catch plastic rats if theyfloated out of the frame line (and to act as alifeguard for the 4 real rats we had). I was tired(excuse), the bugs were thick (excuse), and Iwas watching the shot because wet rats are afunny sight (excuse). While we were rolling, I


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mistook a plastic rat for a real one and quicklyjumped into the shot. The director screamedso loud I fell into the river trying to jump back.Later, when they had the take they liked, Iwent straight to the director to be fired. Ifigured since I was definitely out of a job Imight as well be honest and brief. I said I wassorry that I screwed up. He said it was not aproblem (I was lucky he was in a good mood).The point of this story is that you never makeexcuses when you screw up.

The first time that I directed a 2nd unit,we were shooting insert shots with ananamorphic lens. On one of the shots the FirstCamera Assistant (First AC) forgot to do aneffect with the anamorphic lens. This was ofcourse discovered months later while wewere editing. I immediately blamed the FirstA.C. and received no response from thedirector. I then said that I was sorry, I meant tosay that it was my fault. This brought a smile tothe director's face, and he said that it was fine,he could work around it. This illustrates thefact that as you climb the ladder and get moreresponsibility, you have to take the heat formistakes that the people below you make. When you screw up as a P.A., act likethe big boys and don't make any excuses.Just take full responsibility and apologize. It isa signal to those above you that you canhandle the responsibility of being a leader.

DRIVING

When you drive, the key is to drivesmoothly. You should be able to drive alltypes of cars, light trucks and big vans (at thevery least). When you drive on runs, get toyour destination as fast as you can withoutendangering your license and job/life. Whenyou drive crew members, be cool going towork, and get them home fast after work.

When you drive cast or director/producer types, pretend you are aprofessional limo driver. Drive as if they are


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drinking a gin and tonic, and want to relax.That means smoothly accelerating, smoothlycruising, smoothly stopping. The big cheesesare on edge all day, and the last thing theyneed is for some P.A. to keep jabbing thebrakes and doing things that make themnervous. Sometimes the big guys need tothink in silence, and sometimes they want totalk. Don't talk unless they start it, and be brief.It's a nice touch to get to know the radiostations in the area before you do a pick up,so that you can find whatever your chargesare in the mood for.

Driving with production people iscrucial, since they will be evaluating you forfuture driving missions. When the big stars ordirectors need a ride, they will pick the bestdrivers from the crew to do it; P.A.s they rodewith who were smooth and didn't make themnervous in traffic will have the best chance. Itmay sound like we're getting trivial, but I havewitnessed people being slowly pushed out ofthe business for little trivial things that theykept doing wrong. People won't tell you thatyou stab the brakes too much; they will justnever give you driving jobs. When donewrong the little things are like bees. One ishardly a bother, but a hundred can kill you.

THE TELEPHONE

If used properly, the phone is the mostpowerful tool in the world of production.Learning how to use the phone is a crucialpart of being a P.A. In general, be aware ofhow you sound, and be careful . It is easy toirritate other people when you are stressedout, and it is also easy to go beyond yourjurisdiction once you get in the swing ofthings. You will have to use the phone to doeverything from finding strange props like a 2foot slab of flank steak (it happens that flanksteak is cut so that it simulates muscle tissue,which makes it useful in horror movies) tosecuring locations.

Whenever you use the phone tocontact new businesses, locations, or groups,


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etc. make sure to get the names of the peopleyou contact , and then write them down as thecontact to go along with that number. Thissaves time when you or someone else callsthem back.

You also might have to find people. Forexample, Carl Sagan (the 'billions andbillions of stars' guy). All you know is that thisguy has something to do with astronomy.What do you do? Grab the yellow pages andfind a telescope shop, because the workersmust love astronomy, and know more thanyou do about Mr. Sagan. They tell you thathe's involved with Caltech, the Jet PropulsionLaboratory, KTVK ch. 28, and the PlanetarySociety. You find their numbers frominformation (or find one of the numbers andcoax the rest from friendly secretaries).Caltech tells you he's at Cornell University,but you don't know where that is. You don'thave time to go to the library; what can youdo? Call up the nearest high school and talkto a guidance counselor. Call a university.Call the operator. Check 800-555-1212information. Remember, all you need is thearea code. You find the number and get hisoffice, telling his secretary you are calling onbehalf of a director in Hollywood, you don'twant to talk to him-just a fax number andaddress (this makes them think it could beimportant). She is happy to help, and youhave tracked down Carl Sagan in 20 minutes,with only a name.

People will help you immensely if youapproach them right, something like this: "Myname is Caleb, we're making a movie" (thisexcites most people). "I was wondering if youcould help me?" (people love to get involvedin exciting things, especially if they haveboring jobs). You'd be surprised how muchhelp you can get if you do it right.

I have found that people at smallbusinesses tend to help you more thanemployees at the big chains who usually don'tknow what they are doing, where they are, orwhere anything else in the area is, and theydon't care. Small businesses, on the otherhand, survive on their own merit and aretotally dependent on every customer. If the big


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department stores don't have a 123.5gigawatt phase two turbo infusion pump, callJoe's Hardware, and they will either haveone, get one, or tell you all their competitorswho do have one. That's how they surviveagainst the big guys. Always call theproduction office before you return from a runto make sure nothing else is needed.

"I UNDERSTAND" THEUNIVERSAL RESPONSE

A seasoned First Camera Assistantnicknamed "J-gor" once told me what theuniversal response to any human utterancewas. He had heard it from a famous DollyGrip, and felt it necessary to pass it on to meseeing as it was my first job as a P.A.

The response is, "I Understand". Byvarying the speed and tone "I Understand"works as a response in situations rangingfrom, "what a sunny day" or "here's a milliondollars", to "my feet hurt" and "get a C-stand".Test it out for yourself. I haven't found anyother two words that cover as many situations.

GETTING A JOB

The business, by its very nature, is acatch 22. You can't get a job withoutexperience, and you can't get experiencewithout a job. Therefore the only way to breakinto the business as a P.A. is to get somebodyto give you a chance to prove your abilities.The positive side of trying to find a P.A. job isthat if you are good you are a rare commodity,since good P.A.s get promoted quickly.

The first step is to find a production.Variety, Drama-Logue, and the HollywoodReporter all have sections on current and/orfuture productions. Your state and local filmcommissions should know who is in, orcoming into, the state.


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Once you get a number, and hopefullya name, have your resume in hand and call.Productions will usually accept resumes butthat will probably not be enough. If you waitfor someone to call you back, you will goinsane and those around you will get tired ofnot being able to touch the phone. Call theproduction company often. Push it to the edgeof harassment. A once-a-day, "just checkingon that job, sorry to bother you" will work.Keep it up until you sense annoyance in theirvoices, then lay off for a couple of days. Keepcalling and asking politely until you get a"Yes" or a "No!" answer. Dropping by the set"when you're in the area" , or if you see orhear about a shoot going on, is a good move.Once on the set, ask around and try to find anA.D. a U.P.M., or the Production Coordinator.Then briefly introduce yourself, and ask if theyneed any help. Production people alwaysneed help. If you can get your name and offerout before they cut you off, you might startworking before you can finish saying "help". Ifthis happens, don't ask any questions; justwork hard and wait until the end of the day tosee if you're really hired.

Offering to work for free on your firstshoot is a move that some will debate. I thinkit's a great move if at all possible. The moneyyou lose will be offset by the contacts youmake who will get you the big jobs later.Offering to work for free shows dedication notrelated to money, and there's a good chanceyou will get paid soon after you start working.Sometimes production companies just want tosee if you're good before you add to theirpaper work by signing a contract. Besides,you always get good food and it's hard tospend any money when you're busy 90 hoursa week.

Prepare before you go near a set orproduction office. Wear clothes that make youlook like you are already working on the crew.Since P.A.s do everything, try looking like youcan do anything, from picking a big star up atthe airport, to picking up branches in thewoods. Jeans, running shoes or day hikers, anice T- shirt, a rugged jacket, and a fannypack should do the trick.


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Don't make the mistake a friend of minemade. She got an office P.A. position and didnot accept it immediately because she wantedto be a set P.A. She tried for that position,thinking she could fall back on the office job ifshe had to. She didn't get the set P.A. job andwhen she turned around there was nothing tofall back on and she was out of a job. If youget a P.A. job...take it . The object is to get inthe system and to meet people. You can try tochange jobs once you're on the crew, or afteryou have at least one gig under your belt.

CREDITSScreen credits are something to write

home about. They're a statement of youraccomplishment and a boost to your ego, butthat’s about it. Credits won’t help you getwork, because nobody goes out and rents amovie to see if your name is on it. Low budgetmovies will offer you credits in absence ofmoney (or food). They might even offer youcredits for something you really didn't do.

My friend was a driver (because he hada car) on a low budget movie and since hewasn’t getting paid the Line Producer offeredhim A.D. credits. Even though he wasn’t onthe set more than a few minutes, he thoughthe was a real live A.D. Only after the shootwas over did he realize that although thecredits made him feel great, they didn’t meana thing because he didn't know how to do thework.

RECOMMENDATIONSYou should have at least one good

recommendation from a Director, First A.D.,U.P.M.(Unit Production Manager), ProductionCoordinator, or Line Producer. It should be oncompany letterhead that has a phone number,People actually call sometimes so make sureyou have a real reference with a real phonenumber. Try to get the highest- ranking personto give you a recommendation. An easy wayto do this is to write your own letter and simplyhave the person read and sign it. Try to get aletter of reference before the shoot is over,which is when everybody disappears and thebest intentions are lost in the shuffle.


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Recommendations should be copied andgiven out whenever you give out your resume.

RESUMESYou can put anything in your resume

as long as you can do what you say you cando. I’ve always found it best to put down what Ireally did, with a little creative writing tospruce it up. There are many different stylesfor resumes, but make sure you have thebasic information: What you did, who you didit for, and when you did it. Picking a style is upto you and your creativity.

Whatever style you pick should be onone page, and be easy for people to glance atfor 15 seconds (while you're standing in frontof them nervously) and get a general Idea ofwhat you have done.

I think it's a good idea to have businesscards. Pass your cards out at the end ofshoots to everybody . Always have some onyou in case you meet someone working on ashoot, or you see a production in progress.Business cards work because they are a signthat you are serious enough about yourcareer to spend the time and money to go outand have them made.

VIBESAfter you have had some contact with

the people with whom you will be working,trust your gut feeling about the project. I oncedrove from Hollywood to Roswell, NewMexico because I had met 3 people who wereworking on the show and they were all veryexcited about it. They loved the director andthe script he had written, and the cast wasgreat. I felt like I would be proud to have myname on the credits. There’s nothing wrongwith working shows for the experience andmoney only, but if you can find a project thatfeels good, it makes the work much moresatisfying.


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WHAT YOU'LL NEED

Things like a screwdriver may seemtotally silly to lug around, but they aren't. I wasworking on a Ford commercial, and inaddition to being a P.A., I had to drive a newtruck through a river, on camera. I had justcleaned the truck, and we were all set to gowhen somebody realized that the wronglicense plate was on the front. If I hadn't had ascrewdriver, I would have had to walk throughthe river, get one, and walk back, all while thedirector watched the sun get lower and lower.The moral of this story is that you shouldanticipate what you might possibly need andbring it. Then bring all the stuff you think youmight not need but that you have room for.

Here is a list of the things you will need.Most are cheap and can be found easily. Putyour name on them if possible, and if you letsomeone borrow something, get it back thesame day.

1. Clipboard. For holding paper and makingyou look important to those people whodon't make movies. The aluminum kindthat closes over the paper is the mostrugged and also is good in the rain.

2. Technology. PDAs, cell phone, laptop etc.Depending on company's preferences.Use durable technology, buy extrabatteries. Make frequent back-ups of alldata.

3. A good street map of the area. BecauseP.A.s do not get lost. In the West, ThomasBrothers' Guides are the best.

4. Fanny pack. To put the following things in.5. Mini Mag flashlight. Or similar, water/shock

proof flashlight that takes AA batteries. Forwhipping out like a light saber, rescuingthose in the dark.

6. Black Sharpie magic marker. Everybodyalways seems to need a Sharpie. Makesure to get the Sharpie brand; no otherkind will do.

7. Small pad of Post-it paper.


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8. Sunglasses. Slide on a pair of bikershades, grab your clipboard and butt pack,pull your baseball hat down tight, and youwill at least look like one hot P.A.

9. Pens and pencils.10. Lighter. Even if you don't smoke, other

people do. I recommend a Zippo. Theywork in the wind, and make you look a littlebit cooler than the average Bic-carryingP.A.

11. Swiss Army Knife. With a cork screw.Because there is nothing worse thenhaving a bottle of wine and someone toshare it with, and no cork screw.

12. Pain reliever of your choice. You can'tthink with a headache, and it feels good tohelp others who are in pain.

13. Chewing gum. Good for when you arenervous and want to hide it by looking likeyou're calmly chewing cud.

14. Paper clips.

"OPTIONAL" THINGSIt has been my experience that no

matter what you bring to the set you will endup using it, and if you left something behindbecause you thought you wouldn't use it, itwill be the first thing you need. So while thefollowing things may be "optional", I onlymean optional in the sense that you canprobably survive for a few hours without them.

1. Set bag. Usually a canvas briefcase typeof deal, with lots of weird pockets. Black isbest because it hides evil set dirt stains.

2. Envelope for receipts.3. Small stapler.4. Regular and Phillips screwdrivers. A

combination type screwdriver savesspace.

5. 6 inch adjustable wrench.6. Pliers7. Calculator.8. Old sweat shirt.9. AA alkaline batteries.10. Gaffers tape. Possibly the most useful

thing ever invented.


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11. Extra pens, pencils, Sharpies, paper clips,paper, aspirin, etc...

12. Local Phone Book. This is not necessarilyfor your set bag, but make sure one isavailable wherever you are.

13. Small, inexpensive name and phonenumber computer. These things usuallyhold around 500 names and numbers, soput in all the numbers you can think of:Crew, cast, local businesses, airlines, rent-a-car companies, etc.

14. A hat.

TOOLS OF THE FUTURE

It's always dangerous to talk about thefuture since it can date a work like this, so Iwill speak generally.

As technology becomes moreadvanced, it will continue to work itself into theproduction world. Email reliance, Laptopcomputers and hand- held organizers,wireless PDAs, etc., will become asindispensable as Sharpies, (if they aren'talready) and everything will continue to getsmaller and more powerful.

My only advice is to use the technologythat is most suited for your task, and that isdurable and not just cool with pretty lights andbuttons, but useful.

Technology makes it very easy towaste a great amount of time with bells andwhistles that you end up not really needing.And while computers are fantastic at a greatmany things, it's good to sit back every oncein a while to try and become objective. See ifyou are just obsessed with pushing buttons,or if you really are saving energy and time.

Since the set is a rough place and thatis not going to change, make sure that whatyou buy is built to take punishment.


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As people use more and moretechnology, it is important to remember tohave hard copy and digital back-ups. It will bea few years before they come up with asystem that is as versatile as a pen and paper,which are very cheap, need no power source,are fully submersible, have unlimitedexpandable memory, unlimited fonts andsizes, are usable in any language, need noprinter, can be left as a note or made into ahat, an airplane, or a boat, can start a fire, canbe used as a shim under a rocking lunchtable, etc....etc...


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CONCLUSION

The P.A. position gives you a greatchance to explore all the different areas ofproduction, and to find out which of theseareas you like the best. The P.A. position isalso an excellent place to make the all-important contacts that can help you once youchoose your path. Once you have decided, gofor it. There are very few old P.A.s in the world.That is what being a P.A. is all about: Comingin cold, paying your dues, and moving on.

THAT'S A WRAP!

Documents

The Production Assistant's - Meetupfiles.meetup.com/235322/PA_Handbook.pdf · P.A. (Production Assistant), from my own experience as a P.A., an A.D. (Assistant Director), and a 2nd